This past weekend downtown San Diego hosted its 24th annual Street Scene music festival, touted as a two day music marathon of 40 bands on four stages. As a Street Scene “virgin,” I was not sure what to expect, especially from such a pricey investment. The September 19th line-up seemed too good to be true but too good to pass up; so I gave in and shoveled out the $75.00. After bearing a nearly four hour drive from Los Angeles, enduring the sun-soaked porta-potties, and suffering from partial deafness, I am thrilled to report that my “first time” was a memorable experience, making the “top 5” of my multitudes of musical moments.
Stumbling out of my car onto my “sea legs,” into my $20-parking spot, at approximately gate-opening time, I groaned when I realized that my parking site was at the exit of the festival. By the time I meandered my way down the alphabetical streets and through dozens of white vendor tents, I arrived at the Fontana stage where The Films were already reeling in large numbers of viewers with its upbeat stage presence, sassy sound, and enthusiasm for the sunny locale. As one of the first groups of the day, The Films set the bar high for the remaining acts. I gave “two thumbs up” to the ear-catching “Black Shoes,” arresting “Seeing Hands,” and addictive single “Belt Loops,” all featuring infectious, stomping, and swaying beats, frantic guitar riffs, and brazen lyrics, complimented by sultry melodies. The Films definitely receive my nomination for a band to view again.
At The Films' “el fin,” a brisk walk took me to a shadier Zarabanda stage where Chester French were, unfortunately for me, already launching into their penultimate tune. Pleasantly surprised by a transition from a soul pop sound to a funky cover of Daft Punk’s “Robot Rock,” I squealed, took note of the band’s unique blend of genres, and wished I had been able to enjoy the entire set. From my sampling, I know I found a promising new band to add to my Myspace friends and listening radar.
Sticking by the Zarabanda stage guaranteed a front row spot for MGMT. A buzz of anxious anticipation broke into cheers of relief and excitement when the wiry Brooklyn quartet finally hit the stage before sunset. The group’s smooth harmonies and wistful lyrics from notable numbers like “Pieces of What” and “The Youth” brought surrounding apartment dwellers out to their balconies. The swanky and smooth rhythms of “Electric Feel” and jungle-animal sound effects of “Time to Pretend” instigated nonstop sing-alongs and “boogieing down” of the sea of over-sized sunglasses. The crowd chanted, demanding, “’Kids!’ ‘Kids!’ ‘Kids!’…” and with no surprise, MGMT concluded with the spectacular Oracular Spectacular sensation before escaping the sunlight.
Post-“Kids,” I followed my nose to the eateries that separated the four stages, a nightmare for the indecisive. As I refueled with scrumptious standard Thai BBQ festival fare and a personal-sized package of cookies ‘n cream “Ice Cream of the Future,” Michael Franti and Spearhead provided some reggae beats for dancing and dining. In spite of being seated curbside, I could enjoy the entertainment from afar. The Street Scene planners’ well-thought out stage set-up of jumbo screens, televising the current performer from each of the main stages, guaranteed a glimpse of each band. It was impossible to “miss” any act with the continuous feed of music, an ideal situation for a diehard music enthusiast jumping between stages.
TV On The Radio, a.k.a “TVOTR,” was up next on my plan of attack. I had not heard much more than the latest Indie 103.1 spin of their track “Dancing Choose." After seeing the astounding performance, I will stay tuned for TVOTR news and add the recently released Dear Science album to my music library. With a full big-band line-up, intense bass that made what little hair I have on my arms stand up, and a crowd-pleasing set that included the favorite dance-inspiring “Wolf Like Me,” the quintet (plus)’s show was more than over-the-top exhilarating and impressive.
The festival itinerary also included another big name, Spoon whose button-down look at first did not seem to fit the bill. Nonetheless, their music and spirit meshed well with the Indie theme and the big band sound with their horn section. Spoon fed the audience with highlights of their musical recipes, the cheery Ga Ga Ga Ga Ga single “You Got Yr. Cherry Bomb,” a beloved and sweet “The Underdog,” and the seductive “I Turn My Camera On.” Still over-energized from the day’s previous acts, I had difficulty appreciating fully Spoon’s calmer demeanor, yet the other fans appeared satisfied with the hour-dose of the dapper pop-rockers.
Dashing back to the Fontana stage, hordes of Street Sceners pressed themselves against the stage barricades awaiting the electro-dance icons Justice. At exactly 9:40, the wicked rumblings of “Genesis” erupted from a behemoth speaker arrangement that framed Justice’s signature cross and the artists’ mixing space. In the crystal clear night smoke bellowed from below the stage, red, green, and blue bulbs zapped on the twenty (or MORE) speakers’ façades, and multi-colored spotlights and strobes flashed, unveiling the masterful DJ duo. On the first booming down-beat, a surge of energy raged through the masses that simultaneously threw their hands overhead, forming crosses in the air, and bounced and bobbed as a single gargantuan pulsating unit. The infectious and overpowering bass ignited hysteria and uncontrollable fervor and held strong for the hour set of elaborate variations of “D.A.N.C.E,” a call and response version of “We Are Your Friends,” my favorite “Let There Be Light,” and mixes of Cross tracks (Justice managed to throw in a layer of “Harder, Better, Faster, Stronger.” Daft Punk was an understandably popular choice of the day.). Impossibly, more people forced, shoved, squeezed, and wedged their perspiring bodies toward the front, joining the “d-a-n-c-e.” Being crushed and sweated on could not distract from the indescribable spectacle that brought the Street Scene spirit to a climax. Although Justice’s albums are excellently produced and showcase superb electronic artistry, no recording or CD track could do the pair’s live skills justice.
By hour seven I got my umpteenth wind thanks to the Justice jive, and was ready to enjoy the finale on the Fontano stage: Beck. The self-deprecating Mellow Gold patter classic, “Loser” kick-started a set that expanded to works from Beck's eras of experimentation and his eclectic repertoire. Without many breaks, taking breathers for terse “Thank you’s,” a couple quick instrumental adjustments, technical tweaks, and a hat change, Beck and company fused “Mixed Business,” “Nausea,” “Devil’s Haircut,” “Nicotine and Gravy,” “Scarecrow,” “Que ‘Onda Guero,” “Where It’s At,” “Guess I’m Doing Fine,” “E-Pro,” and one of his newest “Gamma Ray” into a medley that delighted his dedicated fans. For listeners of all ages and stages, the song list also provided a vast selection that kept them enthused through the final moments of day one of Street Scene. The end of the show shortly before midnight was a bit anticlimactic, depriving attendees of six minutes, just enough time for “ONE MORE!” The audience accepted the reality of no encore and dispersed to the merchandise booths, food stands, and outhouses for last-minute shopping, midnight snacks, and preparation for the ride home, shortened by my NOW prime parking location at the exit.
Overwhelmed by residual adrenaline, I took a few days to absorb and reflect on the Street Scene festivities. In retrospect, attending any day of Street Scene was a privilege, but I am grateful I selected the first. From reports on day two, the successful outcome was sustained for the weekend and thoroughly enjoyed by all. I am already anticipating 2009’s Street Scene and can only hope the second time around will match this year’s unforgettable event.
